![]() ![]() “Either one is one the way up to God and heaven,” asserts Quint, or one is simply “condemned to a terrifying fall into untold, oceanic depths.” Again, the representation by Milton understands Icarus as bearing the penalty for his ambition. By connecting the story to one of Christian tradition, Milton reinforces the perspective expressed by Horace and Virgil. In doing so, Milton synchronizes with the “epic tradition beginning with the flying Daedalus and Icarus” (Quint). In this sense, Virgil and Horace write in such a way as to pass judgment on Icarus, finding fault in his inability to be satisfied.Ĭenturies later in 1667, John Milton uses the Greek myth to connect the ambition of Icarus to the original sin of Satan, and his subsequent fall through Chaos. Within this quote is an acknowledgement of the cost of Icarus’ fall (Putnam). The speaker claims directly to Icarus, “You also, Icarus, would have a great part in so great a work, did grief permit” (6.47-50). Along similar lines, the poetry of Virgil departs from Ovid’s characterization of the event. Concerning Horace’s tone, Hornbeck notes that Icarus lacked “moderation, and was destroyed by his own ambition.” Implicit in such a statement is the understanding that Icarus’ death was the natural result of his own defect. The shift from “excitement” identified by Martindale in Ovid to “foolishness” in Horace reveals a different understanding of Icarus’ error. Describing the nature of Icarus’ flight, Horace says in his Odes, “We seek heaven itself in our foolishness” (1.3.36). However, with these writers, the story takes on the tone of castigation. ![]() ![]() References to the flight and fall of Icarus are found in other Romans, namely Horace and Virgil. However, future references to the tale will inscribe Icarus’ fall as one of divine justice for excessive pride. In his analysis, Martindale insists that Icarus’ fall is described by Ovid as being the result of unbridled “excitement,” a product of “naivety, not pride” (23). Disregarding his father’s advice, Icarus flies too high, and the heat from the sun melts the wax of his makeshift wings, causing him to fall from the sky and meet an early demise. Ovid tells how Icarus fails to fly on the wings invented by his father, Daedalus (Martindale). One of the longest and most well known accounts of Icarus comes from the Roman poet, Ovid, in his work the Metamorphoses. The story of Icarus finds its origin in Greek mythology and is recounted frequently in Classical literature. Throughout the show, untamed ambition transforms into obsession, degrading personal relationships and, paradoxically, inhibiting professional advancement. In Hamilton, Miranda establishes his theme concerning the dangers of excessive ambition by connecting Alexander Hamilton’s political and personal failures to the story of Icarus. ![]() Indeed, the comparison to a figure from Greek mythology reflects a sharp departure from crude insults, but provides a fitting description. Due to his boldness, Hamilton acquires many different names from others he is called “Creole bastard,” “whore’s son,” and, later on, “Icarus.” While the former labels are mostly the result of frustration at Hamilton’s success, the last name is used by his wife to describe his failure. In the opening song, Hamilton takes the stage with an assurance to the audience of his untapped potential. Clear from the beginning of the show is the strength of Hamilton’s inherent motivation. Lin-Manuel Miranda’s musical, Hamilton, documents illustrious accomplishments from the unexpected source of a bastard and orphan named Alexander Hamilton. The Fall of Icarus (detail) from the workshop of Bernard Picart, 1731.Ĭultural Reference: “Icarus” (Act 2: 238) ![]()
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